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This article focuses on the last moments of Le Sacre du printemps , which opened in Paris on 29 May 1913 at the Théâtre des Champs-Élysées. Concentrating on the discourse of the creative practice that brought these moments into being, it seeks to add to our understanding of Le Sacre from the evidence of those most intimately involved with this first production. Analysis of Le Sacre demonstrates the equal viability of a great variety of readings of the work. Such readings are enabled by analysis, which regards any aspect of a creative work and its best interpretation as happily unfixed and unstable. It has sometimes been accepted that the job of critics and theorists is to fix interpretations of creative works and to demonstrate conveniently closed theses about them. Creative artists are not always willing to join their critical colleagues. This was certainly the case with Le Sacre. By reading the final seven seconds of its Danse sacrale through the accounts of the work's primary creators – composer Igor Stravinsky, designer Nicholas Roerich, and their creative intimates – this article highlights an engrossing instability of intention and interpretation. It questions the idea that Le Sacre is a sacrificial ritual in the light of how Stravinsky himself considered his work in terms of coronation and consecration. [ABSTRACT FROM AUTHOR]

El artículo trata sobre el paralelismo entre el cubismo pictórico y musical. Se exponen los principios teóricos del cubismo pictórico y las primeras nociones del cubismo musical, principalmente en la obra de Igor Stravinsky. Asimismo, se analiza la representación del espacio en la música en relación con la perspectiva lineal pictórica y la “perspectiva inversa”, o “composición multi-céntrica”, del antiguo arte bizantino y ruso.

Most previous analytical studies of The Rite of Spring have focused on its harmony and rhythm. This article shifts attention to its melodies—mostly short fragments that move repetitively within a narrow registral frame—and shows that they take on expressive meanings closely linked with the work’s dramatic scenario. In addition to operating in the manner of Wagnerian leitmotivs in relation to characters or dramatic situations, they are often bound together in expressive families through the manipulation of their dyads. [ABSTRACT FROM AUTHOR]

While Picasso and Stravinsky are renowned in their respective fields for their primitivism, Adorno's evaluation of them seems to be in sharp contrast, with one being endorsed and the other repudiated. His criticism of Stravinsky, in particular, has been under attack as well. It is thus necessary to explore the dialectical reasoning and critical engagement underlying Adorno's antithetical judgement as well as its justification. Based on the dialectic of enlightenment, Adorno regards Picasso's primitivism as a strong return of the ugly in modern art, which can be traced to the primitive fear. It is also regarded as a critique of enlightenment as well as an inherent need for the spiritualization of art and artistic autonomy. In contrast, regarding the primitive elements and expression of ugliness and discord in Stravinsky's art, Adorno denounces them as regressive, a fabrication of new myths, and even complicit with fascist ideology. Such a view is relevant to Adorno's critique of the collective unconscious in psychoanalysis and authenticity in phenomenology, an extension of his critique of identity in art. In contrast to his positive evaluation of Picasso, Adorno's negation of Stravinsky should not be regarded as mere denigration and demonization. The alienation and falsehood expressed in Stravinsky's primitivist music is indeed avant-garde as its truth content. Adorno's "negation" of Stravinsky, therefore, should also be considered as dialectical. [ABSTRACT FROM AUTHOR]

To commemorate the centenary of the 1913 Paris premiere of The Rite of Spring, the University of North Carolina at Chapel Hill organised The Rite of Spring at 100. As part of this, the Carolina Performing Arts (CPA) commissioned new pieces interpreting and responding to The Rite. Among these was Radhe Radhe: Rites of Holi, created by the Indian-American composer-scholar and pianist Vijay Iyer, performed by the International Contemporary Ensemble and accompanied by a film about Holi (the annual Hindu harvest festival) assembled by filmmaker Prashant Bhargava. Radhe Radhe eventually took the form of a performance document mediated between live music and film, as well as culturally divergent notions of ‘ritual’.This article will consider Bhargava’s film and Iyer’s score, along with documentation of live chamber performances of the piece and ask: how does ‘western’ classical music represent itself in the 21st century? In what ways is self-representation performed in an intercultural collaboration such as Radhe Radhe that destabilises the dominant whiteness of the classical music canon by reimagining its soundscape in reference to a canonical work such as The Rite? I propose that Radhe Radhe—and Iyer’s score in particular—echoes as a sonic postcolonial ur-text through its engagement with Holi. As an instance of the Deleuzian simulacrum, it represents a radical departure from the cultural politics of ‘everyday colonial racism’ (Levitz, 2017: 163) surrounding the 1913 Rite by employing a collaborative vocabulary that resists the hegemonic performance traditions of western classical music.

Stravinsky se erige como una de las figuras más importantes de la música del siglo XX, y es también uno de los compositores que más importancia le ha concedido al pensamiento estético y filosófico en materia musical. Se ha perseguido dar una explicación más detallada a preguntas relacionadas con la naturaleza del fenómeno musical recogidas en sus libros, así como a otros aspectos diferentes que trata el compositor en relación con la figura del intérprete o del compositor director de sus propias obras. Hemos llevado la investigación a un ámbito más práctico, a través de un análisis principalmente de recursos y materiales, así como diferencias entre las partituras del ballet Pulcinella y de la Suite Italiana.

Nos debruçamos neste artigo sobre o uso e a origem do intervalo de quarta como elemento organizador das alturas na música do compositor e bandoneonista argentino Astor Piazzolla (1921–1992). Alguns exemplos nos permitirão vislumbrar tanto uma variedade melódica e harmônica na utilização deste intervalo, como constatar um uso consciente e sistemático da parte do compositor. Uma obra de juventude na qual esse intervalo de quarta aparece de forma abundante nos levou a relacionar essas técnicas com as aulas de Piazzolla com Alberto Ginastera que ocorreram durante a elaboração desta peça, já que seu professor também usava recorrentemente essas técnicas quartais nesse período. Finalmente, o fascínio destes dois compositores argentinos por Igor Stravinsky e a presença desses elementos quartais na música do compositor russo nos permite vislumbrar a origem dessas técnicas quartais: na música erudita moderna.

Nous examinons dans cet article l’utilisation et l’origine de l’intervalle de quarte comme élément organisateur des hauteurs dans la musique du compositeur et bandonéoniste argentin Astor Piazzolla (1921–1992). Des exemples nous permettront de prendre contact avec une utilisation diversifiée de cet intervalle, soit mélodique ou harmonique, et d’en constater un emploi conscient et systématique. Une œuvre de jeunesse du compositeur où l’emploi de ces quartes est abondant nous permet de tisser un lien avec les leçons de Piazzolla avec Alberto Ginastera qui eurent lieu pendant l’élaboration de cette pièce, la musique de son professeur de cette période révélant elle-aussi d’importants usages de ces techniques quartales. Finalement, la fascination des deux compositeurs argentins pour Stravinski, et la présence de ces techniques quartales dans la musique du compositeur russe nous permet de déceler l’origine de ces techniques quartales dans la musique savante moderne.

According to Straus (2014), much of Stravinsky’s music elaborates two structural fifths separated by some interval. Lerdahl (2001) suggests a kind of tonal hierarchy that can be modeled by a multidimensional space in which space distance corresponds to cognitive distance. Conciliating concepts by Lerdahl (2001) and Straus (2014), this paper aims to investigate qualitative aspects of multi-spatial simultaneity in Stravinsky's music, supported by new analytical examples from Ragtime for Eleven Instruments (1918), Preludium for Jazz Ensemble (1937), Tango (1940) and Ebony Concerto (1945). This paper focuses on the developments of the simultaneity issue in Stravinsky's compositional processes, especially through simultaneous multicentric prolongations. This paper seeks to expand this discussion through a theoretical perspective primarily based on the neo-Schenkerian structural prolongation idea.

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Considerando especialmente os empréstimos de música popular americana tomados por Stravinsky durante o seu período neoclássico, este artigo apresenta reflexões a respeito de processos a partir dos quais a identidade modernista de Stravinsky pode ter se articulado. Em alguns momentos, Stravinsky estabelece alianças situacionais que ocorrem através da reinterpretação da música do passado e, em algumas circunstâncias, associa sua estética neoclássica à música popular. O presente texto procura debater a aproximação de Stravinsky com a conceito de se compor obras tendo como base “a ideia do popular americano”, observando que tais empréstimos refletem o fato de que Stravinsky não se voltou exclusivamente à música da tradição concertista durante sua fase neoclássica, mas também aos sons e à inventividade de seu próprio tempo.

This is a historical and analytical study of Ragtime for Eleven Instruments by Igor Stravinsky (1882-1971). From a traditional ragtime stylistic approach (SCHAFER; RIEDEL, 1973. BERLIN, 1980), this study aims to search for evidence of popular elements in the compositional material of Ragtime for Eleven Instruments and any influence of ragtime arrangements in Stravinsky's piece. Disregarding historical evidence and statements by the composer himself who claimed to have had contact with instrumental parts of ragtime arrangements brought from America by his friend Ernest Ansermet, this comparative music analysis shows similar musical features between Ragtime for Eleven Instruments and examples from the High-Class Standard Rags collection.

В центре внимания данной статьи - барочные традиции второй части «Симфонии псалмов» И. Ф. Стравинского. В этом сочинении композитор соединяет традиционные черты полифонического письма и стиля великого немецкого композитора И. С. Баха, а также концентрирует новые идеи, которые проявились в его последующих духовных сочинениях, связанных с религиозной тематикой. В многогранном духовном творчестве Стравинского этот опус занимает особое место: «Симфония псалмов» является «своеобразным конспектом по мировой истории духовной музыки». Центральная часть цикла представляет обращение автора к страницам баховского письма. В качестве жанрового прообраза второй части композитором выбрана полифоническая форма - фуга на две темы: инструментальную и вокальную. В статье рассматриваются причины обращения композитора к полифоническим традициям строгого стиля, в том числе его особое отношение к творческому стилю Баха, а также интерес к полифонии как науке и как структуре. Стравинский использовал широкий круг приемов классической полифонии, а также целый ряд различных структурных единиц, которые позволили создать уникальное произведение на основе барочной жанрово-стилистической модели.

The Current research aims at analyzing the dramatic structure of Stravinsky's opera-oratorio "Oedipus Rex", the symbolism of its theatrical methods and the role of the choir, which is equivalent to the role of the chorus in ancient Greek tragedy and their sources in historical and contemporary theater. A descriptive-analytical methodology is used in the analysis of the music, and a comparative analysis in the comparison of the work with Sophocles' tragedy. The researcher uses Stravinsky's writings and dialogues with R. Kraft, S. Walsh's Book "Stravinsky. Oedipus Rex", and the writing Mayerhold on static theater and other methods. "Oedipus Rex" represents a hybrid genre uniting elements from the opera, the oratorio and contemporary theater, and employs a number of alienation instruments. The role of the choir combines several functions m such as representing the people of Thebes and the hidden forces of destiny. [ABSTRACT FROM AUTHOR]

Copyright of Musicology of Lithuania / Lietuvos muzikologija is the property of Lithuanian Academy of Music & Theatre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Предлагается синестетическая интерпретация первой оперы Стравинского «Соловей». Отмечается важность выбора композитором текста сказки Андерсена, содержащей богатую полисенсорную среду. Аргументируется привлечение композиционных признаков японской гравюры, ставшей визуально-пространственным кодом интерпретации онеры. Прослеживается реализация в драматургии оперы принципов эстетики театра представления, в частности, заключенных в элементах монтажности, объективности авторской оценки, снятии драматического накала. Указывается, что закономерности нелинейной перспективы композиции и четкая прорисованность линий японской гравюры нашли в опере органичное сочетание с эстетикой театра представления и синестетичностью музыкального звучания с особой тембровой выпуклостью музыкальных образов и насыщенностью иномодальными координатами. Приводятся три аналитических фрагмента: песня Рыбака из первого действия, песня Соловья из второго действия и песня искусственного соловья. В ходе анализа выявляется синестетическая оппозиция визуально-живописных, гравитационно-кинестетических координат музыкального языка персонажей, принадлежащих сфере природы, и бесцветных сугубо графических качеств звучания искусственного соловья. Осуществленная синестетическая интерпретация позволяет полнее выявить воплощение в опере образа художника, творца как носителя, связанного с природой искусства, и противостоящей ему бездушной механистичной цивилизации.

En sus escritos musicales más destacados, Pierre Souvtchinsky, alude de diversas formas a un mecanismo de desdoblamiento y concentración en el ámbito perceptivo. Estos conceptos y la reflexión sobre el tiempo musical (cronos), cuestión central en el filósofo, aparecen de manera particular en sus textos dedicados a Igor Stravinsky. En la primera parte de este artículo se expone y analiza dicho mecanismo, hasta ahora inexplorado en el pensamiento de Souvtchinsky. Tratando de articular estos conceptos y el modo en que el filósofo aborda la música, el tiempo musical y la figura del compositor, en la segunda parte se propone la aplicación de los mismos para iluminar algunas particularidades del pensamiento musical de Stravinsky. Por último, ponderando la posible categorización de este mecanismo como principio estructural de la percepción, se sugiere la hipótesis de que pueda constituir una herramienta novedosa en el análisis del pensamiento musical.

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Igor Stravinsky's Symphonies of Wind Instruments combines passages based on the Russian Orthodox burial service, the Panikhida, with passages of a more secular character. The music consists of a series of discrete episodes that succeed each other without transition. The work (composed in 1920) has long been a favorite topic for analysts concerned to identify and affirm the modernity of its form. But it is perhaps better understood in relation to certain ideas about the origin of religion that developed in the later nineteenth century and were still in wide circulation at the time of composition. The music has distinct affinities with the idea of the sacred outline by Emile Durkheim in his Elementary Forms of Religious Life (1912). Drawing on established notions of social contagion, Durkheim suggested that physical matter became sacred when isolated and surrounded by prohibitions. Stravinsky's music outlines a parallel process by treating its liturgical fragments as possessed of a contagious force that gradually overtakes the music as elevates it to the status of sacred matter. [ABSTRACT FROM AUTHOR]

One hundred years on from the infamous premiere of The Rite of Spring, Stravinsky’s epoch-defining ballet continues to evoke controversy and contention in both musicological and performance circles. Even to call it a ballet is to overlook, or compound, its problematic identity. Throughout its life span, most audiences will have encountered, valorised and identified the work as a landmark of orchestral musical modernism heard primarily, perhaps even exclusively, in concert halls and on audio recordings with not a dancer, theatre stage or set in sight. Still to this day it thus remains one of music’s more remarkable split personalities: bifurcated along formalist and contextualist lines by Stravinsky’s ret⁠rospective and opportunistic assertion that he had written “un oeuvre architectonique et non anecdotique.”

[Editorial abstract] The paper analyses multifaceted manifestations of resistance to Rite of Spring by Igor Stravinsky. It discusses artistic, cultural, philosophical, and political sources of the resistance.

В настоящей статье рассматривается вопрос о роли японского искусства в русской модернистской музыке начала XX века на материале «японских романсов» Игоря Стравинского и Артура Лурье, сочиненных в 1910-х годах. Оба композитора-модерниста хотели отказаться от традиционной западной музыки (тональной, конструктивной, с геометрической перспективой). Но в данных произведениях отказывались совершенно противоположным образом. Стравинский обратился к «линеарной перспективе» и «двухмерности», которые нашел в японских стихотворениях и гравюрах. Он воплотил это в музыке с помощью метрико-ритмического приема и других. Лурье же стремился к «внутренней перспективе», «трехмерности» и «рельефности», утверждая в качестве начал для музыки «преодоление линеарности» и «субстанциональность элементов». Он, заимствуя из русского футуристического искусства различные приемы для создания рельефности звуков и увеличения музыкального пространства, воплотил свои основные положения об искусстве в данной сюите. Таким образом, в «японских романсах» двух русских композиторов-модернистов мы обнаружили два противоположных отношения к «перспективе» и «измерениям». Это, возможно, соответствует тому, что в сфере живописи русского авангарда К. Малевич искал беспредметность в двух измерениях, а В. Татлин, наоборот, направлялся к объемности трех измерений.

Considering especially Stravinsky's borrowings of American popular music during his Neoclassical period, this article presents reflections on processes from which the modernist identity of Stravinsky may have been articulated. At times, Stravinsky establishes situational alliances that occur through the reinterpretation of the music of the past and, in other some circumstances, associates his Neoclassical aesthetics with popular music. The present text seeks to discuss Stravinsky's approach to the concept of composing works based on the "American popular" idea, noting that such borrowings shows that Stravinsky did not turn himself exclusively to the classical music tradition during his Neoclassical moment, but also to the sounds and inventiveness of his time. [ABSTRACT FROM AUTHOR]

This paper explores relationships between musical and balletic structure in Balanchine's choreographies of Tchaikovsky's op. 48 Serenade and Stravinsky's Orpheus. It demonstrates how movement in music (phrase shapes, melodic directions) and movement in ballet (in individuals and in the corps de ballet) may respond to one another, especially in how each art form follows and alters its own conventions. [ABSTRACT FROM AUTHOR]

Em "Teoria da vanguarda", de Peter Bürger, o choque é compreendido como o artifício intencional dos movimentos de vanguarda contra a autonomia do esteticismo modernista, a fim de devolver a arte à práxis vital. Adotando uma perspectiva distinta, o choque, para Adorno, expõe antes a crise da experiência da formalização do tempo decorrente da incongruência entre as forças produtivas e as relações de produção na sociedade industrial, sendo que dois caminhos artísticos distintos derivam da inflexão histórica da crise da experiência. Em Schoenberg, na esteira do que Bürger classificaria como esteticismo, o choque seria amortizado pela expansão da linguagem musical, mediante seu registro. Em Stravinsky, o procedimento mecânico de golpes rítmicos e de montagem, em consonância com a profusão de vivências do choque, surge como elemento regressivo. Os choques não seriam dispositivos críticos, mas sismogramas de reações às mudanças da consciência subjetiva do tempo na modernidade. O artigo procura enfatizar as premissas conflitantes entre Bürger e Adorno quanto à posição do conceito de choque, assim como as críticas de Bürger ao modernismo adorniano.

Much of the literature on neoclassicism in music focuses on Stravinsky or on the Stravinsky-Schoenberg polemic that emerged in the mid-1920s. Yet both approaches to neoclassicism bypass a crucial moment in its early formation: the former neglects Stravinsky's engagement with the musical priorities of postwar Paris, while the latter ignores the fact that many of the themes that would later crystallize under the banner of neoclassicism were first developed in opposition not to Schoenberg's music but to Debussy's. As described by Jacques Rivière in a letter to Stravinsky of 1919, the postwar musical climate was "anti-impressionist, anti-symbolist, and anti-Debussyist.' This article revisits the debates that appeared in the Parisian musical press between 1919 and 1923, a period in which the term "neoclassicism' had not yet been coined but in which a new, anti- Debussyist aesthetic was nevertheless emerging. Recognizing the role of anti-Debussyism in the formation of neoclassicism is necessary if we are to understand the motivation behind the movement, a motivation that was responsible for establishing its compositional priorities, instrumentation, and aesthetic. Regardless of what neoclassicism later came to represent-- be it a return to counterpoint, to Bach, or to the eighteenth century--its initial impetus was much more straightforward. Rather than looking to pre-Romantic traditions, its beginnings were to be found closer to home, going no further back than the reaction against Debussy, Debussyism, and the prewar generation. [ABSTRACT FROM AUTHOR]

The twentieth-century composer Igor Stravinsky's setting of the psalms can resonate with faithful communities today that find themselves in complex and often confusing relationships with God. In the Symphony of Psalms, Stravinsky's use of Scripture shapes the listener's sense of the Psalter as a whole and can lead worshipers in an honest, bold alleluia. [ABSTRACT FROM AUTHOR]

A kind of diary by Millicent Hodson and Kenneth Archer, authors of reconstruction of 'Le Sacre du Printemps'.

This paper discusses contemporary empirical approaches to the topic of music and emotions that are conducted at the intersection of psychology, neuroscience and musicology. I show that within this interdisciplinary programme a number of general issues were posed that are not that distant from the questions asked by the classical authors such as Stravinsky and Hanslick. The main purpose of the paper is to show that there are three areas of cognitive and behavioural activity of the listener and the respective types of musical emotions: embodied emotions, cognitive emotions, as well as associative and contextual emotions.

This paper revisits an old question that neither I nor anyone has been able to answer very well, namely, why is it that nineteenth century composers, who had fairly easy access to nonwestern musics in notation, rarely quoted them? But by the early twentieth century, such quotations became quite common. This article argues that the rise of finance capital, as theorized by Rudolf Hilferding in the early twentieth century, marked the ascendance of exchange value over use value. As a rise of the ideologies accompanying finance capital, composers, and everyone else, began to regard other musics, other sounds—other objects—as something that could be exchanged. This process is exceptionally clear in works by Igor Stravinsky such as Le Sacre du printemps, which, while drawing on nineteenth century nationalistic impulses, also shows a relationship to other musics, appropriated as raw material. The new ideology of exchangeability introduced by the rise of finance capital continued through musique concrète in the 1940s and into the rise of digital sampling in the 1980s and after.